Items Similar to Early 18th century portrait painting of Henrietta Paulet, Duchess of Bolton
Want more images or videos?
Request additional images or videos from the seller
1 of 9
Early 18th century portrait painting of Henrietta Paulet, Duchess of Bolton
About the Item
Portrait of Henrietta Paulet, Duchess of Bolton, née Crofts, (c. 1682–1730), three-quarter length, standing on a colonnaded terrace wearing an ivory silk gown and holding a sprig of orange blossom, an Italianate country house and garden in the background.
Oil on canvas, inscribed "Duchess of Bolton 1720" to the verso, housed in a magnificent English period 'Sunderland' frame.
Canvas: 125 x 102cm (49 1/2 x 40 in.)
Henrietta was the eldest daughter of James Scott, 1st Duke of Monmouth (who was the illegitimate son of King Charles II), and Eleanor Needham. Henrietta took the surname of “Crofts” that had been assumed by her father when he was in the care of the Crofts baronets. Her mother’s sister, Jane Myddelton, was one of the celebrated Windsor Beauties. Henrietta became the third wife of Charles Paulet, 2nd Duke of Bolton in Dublin in about 1697, some years after the death of his second wife, Frances.
From 1714 to 1717, the duchess was a Lady of the Bedchamber to the Princess of Wales, Caroline of Ansbach.She was one of the aristocratic female signatories to Thomas Coram’s petition to establish the Foundling Hospital in London, which was presented to King George II in 1735. She signed the petition on 25 April 1729, and Gillian Wagner suggests that the Bolton family members may have signed as a result of their ‘personal experience of illegitimacy in the(ir) family’.
Charles and Henrietta had one son, Lord Nassau.
Maria Verelst (1680-1744) was born in Vienna, moving to London aged three with her father, the artist Herman Verelst (1641-1690) where she became his pupil. She started painting portraits professionally at age fourteen and went on to work alongside other well-known artists including Charles Jervas, William Aikman and John Thornhill. Her portraits were in the similar fashionable 18th style as Godfrey Kneller and Michael Dahl and much of her work remains misattributed to these and other male artists from the period.
There are particular stylistic techniques that Maria liked to use, such as more pronounced and brighter highlights in clothes and drapery and the care she took in placing her sitters within an interesting architectural or garden setting.
Maria was well educated and spoke a number of different languages which no doubt helped her secure patronage. According to an anecdote published in 1730 Maria was once at Drury Lane theatre when she heard some gentlemen nearby praising her in German, she then turned to them and began conversing in the same language before the gentleman switched to Latin, Maria proceeded in Latin and the gentlemen were so impressed that they commissioned their portraits, and through their connections Maria supposedly built up her list of clientele.
- Attributed to:Maria Verelst (1680 - 1744, English)
- Dimensions:Height: 50 in (127 cm)Width: 40 in (101.6 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Bath, GB
- Reference Number:1stDibs: LU95214221272
About the Seller
5.0
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 2002
1stDibs seller since 2015
36 sales on 1stDibs
Typical response time: 1 hour
Associations
The British Antique Dealers' AssociationLAPADA - The Association of Arts & Antiques DealersInternational Confederation of Art and Antique Dealers' Associations
- ShippingRetrieving quote...Ships From: Bath, United Kingdom
- Return PolicyA return for this item may be initiated within 3 days of delivery.
More From This SellerView All
- 18th century English portrait of a lady beside an urn, with a basket of flowersBy Tilly KettleLocated in Bath, SomersetPortrait of a lady wearing a white gown with a red cloak, pearls in her hair and draped over one shoullder, standing beside a classical urn with a basket of flowers, c.1765. The portrait is believed to be a companion portrait of a John (1741-1816) or James (1751-1807) Durno which is housed in an identical frame. The sitter is possibly either the wife of John who was Janes Byres of Stonywood or John and James's sister Elizabeth. (James never married). The Durno family were based around the Aberdeen area of Scotland and John was an advocate in the area and then later a customs official in Jamaica. James was a successful timber merchant, spending time in the Baltic before being made His Majesty's Consul in Memel, Prussia. The portrait is likely to have been painted before Tilly travelled to India in 1768, when John, Jane and Elizabeth would have been in their twenties. We are gtrateful to Mark Beattie for sharing his family knowlege and research on the portrait. Provenance: With W. C. Beattie in the mid 19th century, and by descent through the family Private collection, Kent With thanks to Hugh Belsey who has confirmed this to be the work of Tilly Kettle from photographs. Tilly Kettle (1735-1786) was born in London, the third of six children by Henry Kettle (c.1704-c.1773), a coach painter, and his wife Ann. He attended William Shipley...Category
18th Century Old Masters Portrait Paintings
MaterialsCanvas, Oil
- 17th century portrait of a ladyBy Nicolaes MaesLocated in Bath, SomersetPortrait of a lady by Dutch Golden Age painter Nicolaes Maes (1634-1693). Half-length, within a feigned oval, the lady wears a pearl necklace and earrings, an ivory silk gown adorned...Category
17th Century Old Masters Portrait Paintings
MaterialsCanvas, Oil
- 18th century painting of the Dalbiac family in the gardens of a country houseBy Charles PhilipsLocated in Bath, SomersetThe painting depicts James (Jacques) Dalbiac, his wife Louise (ne de la Porte) and their five children, James, Charles, Louise, Marianne and Martha in the ornamental gardens of a grand country estate. The extensive gardens extend into the distance with gardeners working in the background and figures strolling through the avenues of trees. A peacock and peahen can be seen on the wall to the left and a potted orange tree to the right. Louise Dalbiac holds an orange taken from the orange tree, aluding to the family's faith and their loyalty to the protestant King William of Orange and their adopted country. The Dalbiacs were wealthy London silk and velvet merchants of French Huguenot origin who had fled France at the end of the 17th century to escape persecution for their protestant faith. England offered safe refuge and their skills and industriousness allowed them to establish one of the most successful businesses in London's Spitalfields which became a new centre of the silk trade, effectively leading to the collapse of the once dominant French silk industry. Both sons, James and Charles followed their father and Uncle into the family business, successfully growing the family's fortune and each going on to own their own country estates. A conversation piece is a genre of painting used to describe group portraits of families and friends, often depicted with their servants and family pets and set within an elegantly furnished interior or the garden of a grand country house. They were a celebration of the intimacy of family relations as well as a sign of status, property and the power of succession. The informality of conversation pieces grew popular in 18th century England, allowing the sitters to present themselves in a more relaxed pose, perhaps engaged in intellectual conversation or showing their talents or interests. In this present portrait, the Dalbiacs are shown richly dressed and and at leisure in a grand country house setting, conveying their success and cultural and social aspirations. Charles Philips (c.1703–1747) was an English artist known for painting a number of portraits and conversation pieces for noble and Royal patrons in the mid-eighteenth century. He was the son of portrait painter Richard Philips...Category
Early 18th Century Old Masters Portrait Paintings
MaterialsCanvas, Oil
- English 17th century portrait of James Thynne as a young boy by a fountainBy Johann KerseboomLocated in Bath, SomersetPortrait of the Hon. James Thynne (c. 1680-1704), full-length, in the gardens of Longleat House, seated beside a fountain, holding a shell beneath water spouting from a horn blown by a cherub on a dolphin. A glimpse of part of Longleat House can be seen upper left. Oil on canvas in a period giltwood frame, decorated with leaves and acorns. C. 1682. Dimensions: 145 x 123cm (57 x 48in) in frame Provenance: Ex Longleat House, Wiltshire Private collection, Bath James Thynne was the youngest son of Thomas Thynne, 1st Viscount Weymouth and Frances Finch of Longleat House, Wiltshire. He died in his youth and his Aunt, Anne Kingsmill Finch, Countess of Winchilsea (1661-1720), wrote a moving poem on his death. He was buried in the family vault at Longbridge Deverill, Wiltshire. A mezzotint of this painting by William Faithorne the Younger is held in the Royal Collection. Johann Kerseboom (d.1708) was the nephew of Frederick Kerseboom and first worked in Germany before coming to England in the 1680's where his sitters included the 'Electress Sophia Dorothea' (known from a mezzotint by William Faithorne). His early works were influenced by William Wissing...Category
17th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
- Attributed to John Riley, 17th century English portrait of a girl on a terraceBy John RileyLocated in Bath, SomersetPortrait of a young girl, full-length, wearing a blue silk gown, standing on a terrace beside a classical urn holding a branch with blossom. Attributed to John Riley...Category
17th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
- 17th century Dutch portrait of a Lady in Red adorned with PearlsBy Pieter NasonLocated in Bath, SomersetPortrait of a lady, half-length in a feigned oval wearing a ruby coloured silk gown holding entwined strings of pearls across her bodice. Signed 'PNason' and dated 1667 (lower right)...Category
17th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
You May Also Like
- Portrait of a Lady with a ChiqueadorLocated in New York, NYProvenance: Torres Family Collection, Asunción, Paraguay, ca. 1967-2017 While the genre of portraiture flourished in the New World, very few examples of early Spanish colonial portraits have survived to the present day. This remarkable painting is a rare example of female portraiture, depicting a member of the highest echelons of society in Cuzco during the last quarter of the 17th century. Its most distinctive feature is the false beauty mark (called a chiqueador) that the sitter wears on her left temple. Chiqueadores served both a cosmetic and medicinal function. In addition to beautifying their wearers, these silk or velvet pouches often contained medicinal herbs thought to cure headaches. This painting depicts an unidentified lady from the Creole elite in Cuzco. Her formal posture and black costume are both typical of the established conventions of period portraiture and in line with the severe fashion of the Spanish court under the reign of Charles II, which remained current until the 18th century. She is shown in three-quarter profile, her long braids tied with soft pink bows and decorated with quatrefoil flowers, likely made of silver. Her facial features are idealized and rendered with great subtly, particularly in the rosy cheeks. While this portrait lacks the conventional coat of arms or cartouche that identifies the sitter, her high status is made clear by the wealth of jewels and luxury materials present in the painting. She is placed in an interior, set off against the red velvet curtain tied in the middle with a knot on her right, and the table covered with gold-trimmed red velvet cloth at the left. The sitter wears a four-tier pearl necklace with a knot in the center with matching three-tiered pearl bracelets and a cross-shaped earing with three increasingly large pearls. She also has several gold and silver rings on both hands—one holds a pair of silver gloves with red lining and the other is posed on a golden metal box, possibly a jewelry box. The materials of her costume are also of the highest quality, particularly the white lace trim of her wide neckline and circular cuffs. The historical moment in which this painting was produced was particularly rich in commissions of this kind. Following his arrival in Cuzco from Spain in the early 1670’s, bishop Manuel de Mollinedo y Angulo actively promoted the emergence of a distinctive regional school of painting in the city. Additionally, with the increase of wealth and economic prosperity in the New World, portraits quickly became a way for the growing elite class to celebrate their place in society and to preserve their memory. Portraits like this one would have been prominently displayed in a family’s home, perhaps in a dynastic portrait gallery. We are grateful to Professor Luis Eduardo Wuffarden for his assistance cataloguing this painting on the basis of high-resolution images. He has written that “the sober palette of the canvas, the quality of the pigments, the degree of aging, and the craquelure pattern on the painting layer confirm it to be an authentic and representative work of the Cuzco school of painting...Category
17th Century Old Masters Paintings
MaterialsCanvas, Oil
- Italian Greyhound and Friends - Italian 17thC Old Master dog art oil paintingBy Francesco FieravinoLocated in London, GBThis stunning Old Master 17th century oil portrait painting is attributed to Francesco Fieravino, an artist famous in his day for still lifes and carpets. This painting which dates t...Category
17th Century Old Masters Animal Paintings
MaterialsCanvas, Oil
- Very Large Antique English Oil Painting Portrait of Clerical Gentleman in RobesLocated in Cirencester, GloucestershireThe Clerical Gentleman English School, early 1800's period oil on canvas, framed framed: 41.5 x 34 inches canvas: 36 x 28.5 inches provenance: private collection, England condition: ...Category
Early 19th Century Old Masters Portrait Paintings
MaterialsCanvas, Oil
- 18th century portrait of the painter Nathaniel DanceLocated in London, GBCollections: Robert Gallon (1845-1925); Private Collection, UK. Oil on canvas laid down on panel Framed dimensions: 11.5 x 10 inches This highly engaging, previously unpublished portrait by Johan...Category
18th Century Old Masters Portrait Paintings
MaterialsOil, Wood Panel, Canvas
- Head of an AngelLocated in New York, NYProcaccini was born in Bologna, but his family moved to Milan when the artist was eleven years old. His artistic education was evidently familial— from his father Ercole and his elder brothers Camillo and Carlo Antonio, all painters—but his career began as a sculptor, and at an early age: his first known commission, a sculpted saint for the Duomo of Milan, came when he was only seventeen years old. Procaccini’s earliest documented painting, the Pietà for the Church of Santa Maria presso San Celso in Milan, was completed by 1604. By this time the artist had made the trip to Parma recorded by his biographers, where he studied Correggio, Mazzola Bedoli, and especially Parmigianino; reflections of their work are apparent throughout Procaccini's career. As Dr. Hugh Brigstocke has recently indicated, the present oil sketch is preparatory for the figure of the angel seen between the heads of the Virgin and St. Charles Borrommeo in Procaccini's altarpiece in the Church of Santa Afra in Brescia (ill. in Il Seicento Lombardo; Catalogo dei dipinti e delle sculture, exh. cat. Milan 1973, no. 98, pl. 113). As such it is the only known oil sketch of Procaccini's that can be directly connected with an extant altarpiece. The finished canvas, The Virgin and Child with Saints Charles Borrommeo and Latino with Angels, remains in the church for which it was painted; it is one of the most significant works of Procaccini's maturity and is generally dated after the artist's trip to Genoa in 1618. The Head of an Angel is an immediate study, no doubt taken from life, but one stylistically suffused with strong echoes of Correggio and Leonardo. Luigi Lanzi, writing of the completed altarpiece in 1796, specifically commented on Procaccini's indebtedness to Correggio (as well as the expressions of the angels) here: “Di Giulio Cesare...Category
17th Century Old Masters Figurative Paintings
MaterialsPaper, Canvas, Oil
- 19th century portrait painted in St Petersburg in 1819Located in London, GBSigned, inscribed and dated, lower right: 'Geo Dawe RA St Petersburgh 1819', also signed with initials, lower centre: 'G D RA'; and signed and inscribed verso: 'Geo Dawe RA Pinxit 1819 St Petersburgh'; Also inscribed on the stretcher by Cornelius Varley with varnishing instructions. Collections: Private collection, UK, 2010 Literature: Galina Andreeva Geniuses of War, Weal and Beauty: George Dawe...Category
19th Century Old Masters Portrait Paintings
MaterialsOil, Canvas